Abbott and Costello Meet the Invisible Man (1951)
The best of Universal-International's followups to Abbott & Costello Meet Frankenstein, Abbott & Costello Meet the Invisible Man casts Bud and Lou as mail-order private eyes. The boys champion the cause of boxer Arthur Franz, who has been framed for murder. Utilizing the formula created by Claude Rains in the original Invisible Man (1933), Franz vanishes before Dr. Gavin Muir's astonished eyes. Cloaked by invisibility, Franz talks Bud and Lou into helping him nab the real murderer, gangster Sheldon Leonard. A string of uproarious gags and comic setpieces is highlighted by a boxing-ring finale, wherein Lou, backed up by the invisible Franz, dukes it out with a behemoth prizefighter. A clever special-effects closing gag caps this delightful A&C vehicle. … More
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Critic Reviews for Abbott and Costello Meet the Invisible Man
My favorite of the three Abbott and Costello vs. Universal monsters films. There are jokes in this movie that are actually laugh-out loud funny, even by today's standards. Adults will enjoy the humor. Kids like the slapstick. It's a pleasant combination.
Mediocre A&C packed with corn and laughs.
Better than average Abbott and Costello vehicle.
My favorite of the duo's adventures into Universal Monster-Town.
Audience Reviews for Abbott and Costello Meet the Invisible Man
Just like every other Abbott and Costello movie, it's fun but very silly. Overall, it's entertaining, but it could have been better if it were a real invisible man movie instead of a comedy.More
The best of Abbott & Costello's follow-ups to meeting Frankenstein and way superior to all of the Invisible Man sequels, Meet the Invisible Man actually boasts the most laugh-out-loud moments from their monster team-ups. Oh, like the film before it, the story and action play out at an almost childlike level. Still, the boxing match alone demonstrates the high points of each franchise: great special effects and hilarious visual gags.
In this classic Universal horror-comedy, two bumbling private eyes (Abbott, Costello) help a man wrongly accused of murder (Arthur Franz) who has become invisible to help clear his name.
Filmgoers cant help but love this exceptional blending of comedy and horror. The comedy team fire on all cylinders as inept sleuths who just graduated from a detective correspondence school. What constitutes a story earns more plaudits than its contemporaries (the convict-clearing-his-name bit already got used in The Invisible Man's Return and The Invisible Man's Revenge) because its purposely played for laughs, not unintentionally.
Bottom line: H.G. Well Done
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